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The last line, particularly the dual promise of 1) video store nirvana and 2) R-rated permission synthesizes everything the Duffer Brothers understand and get right about how life happened for kids and parents and the dynamics between them in the ’80s. We can, stop by the video store on the way back, pick out whatever you want-even R-rated.” Why don’t you grab a book or something and come with me. “I need to drop off Nance, and I’m going to check in on Barb’s parents. In the episode”s best (and most authentic) line appropriate to the era, mom Karen tries to console him in the most ’80s way possible: The next morning Mike pulls an “Elliot” (right out of E.T.) and fakes being sick to stay home from school.
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As he looks over at El, her nosebleed returns (signaling her telekinesis use and its mental/physical toll on the body). Mike rushes over to respond, but the signal breaks. Over the speaker, clearer than ever, the voice of Will (Noah Schnapp), soft and still, quietly sings the Clash’s “Should I Stay or Should I Go”. El (Millie Bobby Brown) holds up the giant transistor walkie-talkie.
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Ted: Should I, uh, order the oysters, or?īoth go back to watching the television above the hotel barstools, and scene.ĭown in the basement Mike (Finn Wolfhard) reaches full panic, unsure what to do next. He’ll come to us when he’s ready.”Īt this point I can only imagine these two on their honeymoon: He asks Karen (Cara Buono), “Should I go down and talk to Michael?” Karen reverts back to trickle-down parent-nomics, “Give him time. Mike’s dad Ted (Joe Chrest) continues to operate in passive neglect mode.
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The meta-textual moment adds narrative intensity just as it provides a quietly comical visual gag, recalling both Jack Nicholson’s manic performance in The Shining and Bruce Campbell”s Ash persona in The Evil Dead.Ī news briefing on TV announces “David O’Bannon” to be the man who tipped off authorities to the body (perhaps a nod to screenwriter Dan O’Bannon, known for Alien, Aliens, and Total Recall).
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As a genre mixing homage to ’80s horror cinema, Joyce rushes out the back to the woodshed where she quickly retrieves and returns brandishing a wood axe. Chief Hopper (David Harbour) tries to comfort Joyce (Winona Ryder), but senses she’s well into a mental breakdown in her grief. The town grieves, specifically the Byers and Wheeler’s households. Nothing Good Comes From the Woodshed … Which Is Sometimes a Good Thing In terms of continuity, the story flows on and builds toward a tense climax with subtle Abrahamic moral gravity. Perhaps most importantly, Chapter Four partially answers an important question at the core of Chapter Three’s cliffhanger, but only enough to add narrative momentum without undo heavy exposition. As a serialized chapter to a shortened season, “The Body” moves the narrative along (thanks to a script credited to Justin Doble and direction from industry vet Shawn Levy) without sacrificing the little moments that give this sci-fi horror drama its spark. Stranger Things episode four, “The Body” works better than the average mid-season bridge episode. This review contains spoilers up to episode four.